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When you're walking, make sure to step with the ball of your foot first and sort of roll into your step. I used to be in a marching band in high school and we had to practice taking smooth steps so the whole band wouldn't appear to be bobbing up and down.

Each to their own. Personally I like the Gh4's colors, but it took me a while to get the settings I like. Basically it reproduces pretty much exactly what my eyes see, in terms of detail and colors...and I like that, my eyes are the ultimate judge and I cant trade them in on next years model, I have relied on them for years in graphic art and 3d design. Using iDynamic in reasonable light gives good detail in shadows with practically no noise or blotching that I can see. I had a Canon 60D, my son uses it these days for surf videos...I cant say the same about that, its a nice enough image, but to my eyes (and many others, its nowhere near the class of the GH4 in practically any area). Many users have sold their 5DMk3's and many others are able to match the color nicely to the Canon C100, there are tons of threads on dvxuser.com about this. But at the end of the day, the whole GH4 Vs Canon Vs Nikon Micro 4/3rd vs Full Frame...is a lot like the argument that has been around for decades in relation to guitars... is a single coil better than a humbucker? (they are certainly different) or is a Fender (largely single coils) better than a Gibson (largely Humbuckers)? or does and Ibanez lack soul (now theres a word that puts the argument out of reach LOL!!...the camera equivalent is the much maligned term "filmic") At the end of the day, its horses for courses, I personally dont base my decisions on anyones Sony, Canon, Nikon, Panasonic preferences or bias...I use what pleases me...and I'll bet most others do the same.

Nikon AF 35-70 f/2.8 same great glass as the superb 28-70mm f2.8 nikon I use alot ...BUT its A PUSH PULL ZOOM . now of you can live with a push pull zoom then its agreat way of getting super Nikon glass alot cheaper Nikon AF D 80-200 f/2.8 - the other 'Bourne' Lens also used on Casino Royale and Quantum of Solice I cannot say enough good things about this lens - its VERY VERY GOOD everyone should have one, I use dumb Nikon to Canon EF adapters on my Nikon lenses then I put them on Canon EF - Micro 4/3 speedboosters/Lens Turbos. so yes you can do that with no issues hope this helps !! This Nikon Glass is amazing!!

What's your experience with the following lenses: - Nikon AF 35-70 f/2.8 - Nikon AF D 80-200 f/2.8 I currently shoot with a Canon (APS-C) and a Panasonic (mft) camera but would like to invest in future-proof lenses. I'll either get a Speedbooster or make the switch to a full-frame Nikon camera. If I decide to get a Canon to MFT speedbooster, can I use a dummy Nikon to Canon-adapter and use these lenses with the Canon speedbooster?

Canon releases a new camera line called MEH. Canon's chief architech Mishiku Opportuntzie speaks about the product development of their MEH line of cameras. "Canon is strong on two paths the first is Imposible and the second is MEH. We listen to our customers needs and offer to them the choises of MEH1 and MEH2.

It's a sexy looking camera that's for sure. I expect the C300 Mark II to be 10 bit 422, with 4k and 120fps at 1080p. I would also hope that the C100 would receive a firmware update after the C300 Mk2 release to enable 4k (but at 8 bit only, HDMI out maybe). This hope is rather pointless right now - my business is saving for the new FS7 which looks to be an outstanding product, a great investment for the long term. Paired with an A7S, it's all systems go (further!). B)

Ive never used the Pentax 30mm f2.8 , it does have a good reputation the Canon fd 28mm f2 is very good the fd 28mm f2.8 is also very good and cheap on ebay I do use the Sigma 30mm f1.4 all the time its a superb lens one of my favourites! especially on a speedbooster the Zeiss Distagon 28mm f2.8 in c/y is a killer lens very good too if you are shooting micro4/3 check out the NEW Sigma 30mm f2.8 - it has amazing reviews its very very sharp and great value

DIY forever! Grazie mille Comurit! :)

Here's a cheap method and one way to skin this cat: Ultimately, the easiest way is to get good at it without any gear. Lots of practice.

Canon FD 28mm F2.8 Test.

I've built myself this shoulder rig: I know it looks terrible! but it works ok. I also learnt how to walk properly watching this video:

I do wide walking shots on a 18 or 20mm lens and you do have to adjust your feet and legs as shock absorbers and walk in a smooth gliding way .....not normal clunky steps I also tie myself to the talent round the waist with a piece of rope for head shots on a 50mm lens so the distance between us remains the same and they do have to walk exactly as fast as you do to keep a narrow dof . lots of takes usually gets the shot you need. .....4 seconds is how long I like to cut each shot...less is more !

Umm.... Canonitis? :P

i am one of the biggest lovers of handheld and one of the worst shakiest camera women out there. my advice 1. gym, no way to do handheld if you have chicken wings for biceps 2.try to walk with your knees bended a bit difficult but works (think of your knees as car suspensions keep them bended) 3.if you go completely handheld (no monopod) then control the shake by actually enhancing it in a rythm up and down 4.use the camera strap on your neck as balance and extend it with the camera 5. use a pillow, crazy but works if you have nothing, just strap a pillow in your chest and rest your elbows on it.. (Chris Doyle dp ) 6. in general use your elbows against your chest 7. breathe right relax go with the flow, sing a tune in your head to find rhythm c.

For a lot of handheld I found one just has to "glide" as much as possible. I think this is easier for shorter people. The squat walk. The smoother you are, the smoother the shot is, is that's what you want. You just kind of learn to hand-hold to the best of your ability. Other things influence it a lot. Rig, mass, etc. Bigger cameras off-the-shoulder are actually better for handheld shots, IMHO. Maybe that's my broadcasting background bias. But, for instance, I mounted a lead pipe with a bottom weight to a DSLR camera --and used that mass as a steadying device for a lot of walking sequences. I wanted the shots to look like they were half way between hand-held and steady cam. Again, just depends what you're going for. The cinematography in a film like Dallas Buyers Club, or say Bourne Identity, is way more involved than just being handheld, obviously. It's disciplined movement of the lens in relation to the light and character...even if it's deliberately visually chaotic.

But, as soon I start to walk following the talent I have shaky shots. I have the same problem, I don't know how to walk, or it's caused by my equipment?

manfrotto fig rig is good for walking shots as you have a wider reach and your hands are not touching the camera , so less wobble

They really need to sort out their test footage. sod the red camera. Just shoot some humans with a 550d if needs be! a human face in the foreground tells 1 million stories

  Were you using a pinhole lens on the GH4 or something?

Not just technically very good, but everything about it:

you can get this lower contrast look by just stretching nylon stockings over the back of your lens... its cheap and works !!- they have been doing this in Hollywood for many many years since the 1930's - it works!! just watch Atonement by Seamus McGarvey 2007 shot with nylons on the back of the lens read this in American Cinematographer magazine about how he did it http://www.theasc.com/ac_magazine/December2007/Atonement/page1.php Atonement, shot by Seamus McGarvey, BSC, lends stunning visuals to a novel’s impact. To further emphasize the heat, the cinematographer shot most of the 1935 scenes with a 10-denier Christian Dior black stocking on the back of the lens. The only time the filtration came off, he explains, was “when we were shooting against very bright windows. It would bloom out too much and the areas of overexposure would start to corrupt the shadow areas. For those odd shots, I used Schneider Classic Softs — 1â„8, 1â„4 or 1â„2.†While praising the stockings’ effect, McGarvey’s 1st AC, Carlos De Carvalho, notes that the material “reacts very differently if you have a lot of stop on the lens, so [McGarvey] kept things pretty much wide open, which made it more challenging for me — more exciting, actually!†Easing the damage to De Carvalho’s nerves, Panavision supplied a complement of RF (rear filter) lenses, with the exception of the 40mm prime. De Carvalho explains, “The lenses have a little screw-on adapter on the back, which allowed me to pre-net all of the lenses and have a separate ring for each lens. The longer the lens, the more you have to stretch the stockings, so we had to be careful to mark them all. But it allowed us to take the stockings off or put them back on quickly.â€